Heather Hendershot Nashville review, recensie en informatie boek over de speelfilm uit 1975 van de Amerikaanse regisseur Robert Altman. Op 16 oktober 2025 verschijnt Bloomsbury Publishing in de British Film Institute reeks het boek van Heather Hendershot over het muziekdrama Nashville 1975 van de Amerikaanse filmregisseur Robert Altman. Er is geen Nederlandse vertaling van het boek verkrijgbaar.
Heather Hendershot Nashville review en recensie
Als er in de media een boekbespreking, recensie of review verschijnt van Nashville, het boek van Heather Hendershot met een analyse van de speelfilm uit 1975 van Robert Altman, dan besteden we er op deze pagina aandacht aan.
Nashville
- Auteur: Heather Hendershot (Verenigde Staten)
- Soort boek: filmboek
- Taal: Engels
- Uitgever: British Film Institute
- Verschijnt: 16 oktober 2025
- Omvang: 104 pagina’s
- Uitgave: paperback
- Boek bestellen bij: Amazon / Bol
Flaptekst van het boek over de Robert Altman film Nashville
Robert Altman’s Nashville (1975) is simultaneously an intimate film about interpersonal connection and disconnection, and a sprawling, meandering portrait of American societal exhaustion in the wake of Vietnam, Watergate and a spate of political assassinations. Despite its pessimistic, satirical viewpoint, the film suggests a carefully guarded optimism: ‘life may be a one-way street’, but one has no choice but to ‘keep a’ goin’.
Heather Hendershot places Nashville in the context of the New Hollywood of the 1970s, which offered a post-censorship anti-hero, the perennial loser. Embracing the new pessimism, Altman’s work fits with those of contemporaries such as Martin Scorsese and Peter Bogdanovich, but it also stands apart for its innovative sound design, improvisatory drive, and loose genre commitments.
Through a close reading of the five days over which the film takes place, Hendershot unpacks both its political dynamics and the characters’ interrelationships and motivations. She highlights Nashville’s criticism of the suffering of its female characters, an engagement that springs from Joan Tewkesbury’s screenplay, Altman’s sensitivity to gendered exploitation (here, if not in all of his pictures), and the role the performers themselves played by improvising and scripting some of their own material.
